Amiri Baraka was one of the main leaders of the Black Arts Movement and a successful playwright. His play Dutchman was first shown at the Cherry Lane Theatre in New York City in March, 1964 and won the “Village Voice” Obie award. It is an outstanding example of the teachings of this movement by using symbols for race relations and discrimination, which was still present around that time.
The focus of this term paper lies on the examination of these symbols as indicators of race relations in regard of the call for change induced by the Black Arts Movement. Therefore, the second chapter will approach Baraka's essay The Revolutionary Theatre and the theory of the formation of the Black Arts Movement. It was a call for violence, destruction and exposure of white suppression.
Furthermore, there will be a look at the historical context of this movement. The third chapter will involve an efficient examination of the symbols, which Baraka has included in his play Dutchman in order to expose race relations and racism, which were under the surface. This will be followed by an interpretation of the end of the play in regard to the Black Arts Movement and race relations displayed through symbols. Baraka wanted to motivate African-Americans with this play to stand up for themselves and to create their own identity and culture instead of assimilating into a white, racist society. It represents, without a doubt, a milestone in the fight for equal rights through art.
Table of Contents
1. Introduction: Baraka’s Dutchman as a Call for Action
2. The Black Arts Movement
3. Symbolism for Race Relations
3.1 Lula
3.2 Clay
3.3 The Title “Dutchman”
3.4 The Underground
4. Interpretation of the End in Regard of Race Relations
5. Conclusion: Dutchman – a Milestone in the Fight for Equality
Research Objective and Core Topics
The primary objective of this paper is to examine the symbolic representations within Amiri Baraka’s play Dutchman as indicators of race relations and as a catalyst for social change within the context of the Black Arts Movement.
- The historical and theoretical framework of the Black Arts Movement.
- Biblical and mythological symbolism in the characters of Lula and Clay.
- The socio-political significance of the play's setting, "the underground."
- The critique of assimilation versus the development of an independent African-American identity.
Excerpt from the Book
3.2 Clay
Clay is a 20-year old black man, who has assimilated into the white community. He wears a suit and a tie. He is a well-dressed, intellectual, middle class guy.
He symbolizes assimilation and passivity. He had to assimilate in order to go to college. He represents the stereotype white society has, which is the one of an assimilated African-American man with no individuality. This is why Luna refers to him as “Uncle Tom” (Baraka, Dutchman 8). He has to compromise his own identity to ensure a peaceful encounter with his white suppressors by assimilating and forgetting his own heritage. By passively accepting a second-class role in white society, he is just a copy of the original. Also, According to Encyclopedia.com, this is made by “adopting the values and norms of the oppressing society.” It leads to a race of followers and people who forgot about their own culture and race. Clay wants to become a “black Baudelaire” because he already exists and there is no room for innovation left by copying him. Baraka addresses these issues by making Clay symbolize the controversy of assimilation and making him a victim type. Lula says to Clay: “You’re a murderer, Clay, and you know it” (Baraka, Dutchman 5). This means, that Clay, who had to assimilate, is murdering the African-American culture in the United States by trying to be like white people instead of creating an own identity.
Chapter Summary
1. Introduction: Baraka’s Dutchman as a Call for Action: This chapter introduces the play as a central work of the Black Arts Movement, aimed at exposing white supremacy and encouraging African-American self-determination.
2. The Black Arts Movement: This section details the historical and political environment of the movement, emphasizing its call for separatism, black consciousness, and the rejection of white cultural assimilation.
3. Symbolism for Race Relations: This chapter analyzes how specific symbols throughout the play are used to critique white power structures and reveal the hidden tensions of racial discrimination in the 1960s.
3.1 Lula: This sub-chapter examines Lula as a representation of Eve and the white power system, highlighting her role in seducing and manipulating Clay.
3.2 Clay: This sub-chapter explores Clay’s character as a symbol of assimilation and passivity, contrasting his status as a victim with the need for black masculine identity.
3.3 The Title “Dutchman”: This sub-chapter interprets the title through historical references to the slave trade and the maritime legend of the Flying Dutchman, symbolizing an endless cycle of suppression.
3.4 The Underground: This sub-chapter discusses the play's setting as a metaphor for the unconscious racial history and a place where systemic violence against black people is ignored.
4. Interpretation of the End in Regard of Race Relations: This chapter interprets the play's violent conclusion as a representation of the white power structure's ability to maintain status quo and the emerging signs of potential resistance.
5. Conclusion: Dutchman – a Milestone in the Fight for Equality: This final chapter summarizes the play's significance as a call to action, urging African-Americans to reject assimilation and embrace their own identity.
Keywords
Black Arts Movement, Amiri Baraka, Dutchman, Race Relations, Assimilation, Symbolism, African-American Identity, White Supremacy, Clay, Lula, Postcolonial Studies, Civil Rights Movement, Social Change, Theatre of Victims, Cultural Identity.
Frequently Asked Questions
What is the core subject of this paper?
The paper provides a detailed literary analysis of Amiri Baraka's play Dutchman, focusing on how the author uses symbolism to address racial tensions and power dynamics in 1960s America.
What are the primary themes discussed?
Key themes include the critique of assimilation, the necessity of creating an independent African-American identity, the systemic nature of white oppression, and the history of racial violence.
What is the ultimate goal of the research?
The goal is to illustrate how Baraka uses the stage to incite African-Americans to abandon passive roles and reclaim their cultural heritage as a form of resistance.
Which methodology is employed in this work?
The paper utilizes literary analysis of symbols and themes, supported by historical context of the Black Arts Movement and postcolonial theoretical frameworks like the "theory of gazing."
What does the main body cover?
The main body examines individual characters (Lula and Clay), the specific meaning of the play's title, the significance of its underground setting, and the socio-political interpretation of its final scene.
How would you characterize this work through keywords?
The work is defined by terms such as Black Arts Movement, symbolism, race relations, assimilation, and cultural identity.
How is the title "Dutchman" specifically interpreted?
It is interpreted as a reference to the 1619 arrival of the first enslaved Africans in America and as a parallel to the legend of the Flying Dutchman, representing the endless, recurring cycle of racial harassment.
What is the significance of the "underground" setting?
It acts as a metaphor for the collective unconscious, representing a place where racial crimes are committed and forgotten, while also serving as a claustrophobic space with no escape for the victim.
- Arbeit zitieren
- Julia Stein (Autor:in), 2017, Symbolism and the exposure of race relations in Amiri Baraka's "Dutchman", München, GRIN Verlag, https://www.hausarbeiten.de/document/373201
